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Broadly speaking, most paintings can be divided into (1) easel paintings, on either canvas or a solid support, usually wood; (2) wall, or mural, paintings; and (3) paintings on paper and ivory. The conservator of paintings aims above all at “true conservation,” the preservation of the objects in conditions that, as far as possible, will arrest material decay and delay as long as possible the moment when restoration is needed. The correct choice of conditions of display and storage is, therefore, of the first importance. Ideally, each type of painting requires its own special conditions for maximum safety, depending on the original technique and materials used to compose it.
Portable paintings on canvas or panel are called easel paintings. Basically, they consist of the support (the canvas or panel); the ground, ordinarily a white or tinted pigment or inert substance mixed with either glue or oil; the paint itself, which is composed of pigments held in a binding medium such as drying oil, glue, egg, casein, or acrylic; and, finally, the surface coating, usually a varnish, to protect the paint and modify its appearance aesthetically. These four layers have many variants but must be constantly borne in mind when considering the problems of conservation.
Paintings on wood
Wood has been used as a support since the encaustic paintings of ancient Greece. Wood-panel supports were used almost universally in European art in devotional icons and other works before the 16th century, when the use of canvas became dominant. Wood has the disadvantage of swelling and shrinking across the grain when there are variations in the relative humidity of the atmosphere. In northern temperate climates, variations in humidity can be considerable. In England, for example, the seasonal variation in a museum that is centrally heated in the winter can be from 25 percent in midwinter to 90 percent in summer. Although paint has a certain elasticity, it cannot usually take up much movement, and in paintings on wood it generally cracks in a network referred to as “craquelure.” In continental landmasses, such as the United States, the average relative humidity in dry zones may be consistently low, so that European paintings with wooden supports “air-seasoned,” or accustomed, to a higher humidity may suffer considerably. In both Europe and the United States, the combination of an unsuitable environment of low or changing relative humidity with the restraining effect of the paint layer often produces a permanent bowing of the panel, which is convex at the front surface.
To counteract both the shrinkage and the bowing (especially the latter), restorers in the past placed wooden strips called battens, or more complex structures called cradles, across the back of the panel as constraints. This solution, however, often produced internal stresses that led to severe distortion of the front surface, cracking of the panel along the wood grain, and in some instances extensive damage to the paint. This form of intervention has been largely abandoned in favour of an environmental approach that places the emphasis on the maintenance of a stable environment that fosters preservation. The ideal conservation solution is a form of air conditioning in which the relative humidity is maintained as much as possible at what is generally agreed to be the most reasonable level—i.e., about 55 percent. It is normal by modern standards to accept as inevitable some permanent convex curvature.
When warping and cracking have already occurred or when the latter seems likely as a result of the mistaken application of secondary supports, such as cross battens, expert restoration treatment is required. In principle, this consists of removing the cross battens and applying a reinforcement to the back that imposes a uniform but gentle constraint over the whole surface. In the past, when the wood was badly worm-eaten or dimensionally unstable, the wooden support was occasionally removed from the paint and ground layers in the process known as “transfer.” This was accomplished by temporarily adhering a substantial support of paper and, possibly, canvas to the front surface and then cutting away the wood on the back. An entirely new support, of either panel or canvas, was then adhered to the back, and the temporary facing was removed. This treatment is very rarely done today and is generally considered to be an extreme form of intervention.
